Doxy present a reissue of Ray Heindorf's interpretation of Victor Young's film score for the 1942 film For Whom The Bells Toll. Heindorf's interpretation was released in 1958. Longtime Hollywood music director for Warner Bros., Raymond "Ray" Heindorf is one of the most important and prolific American film score composers; his career brought him eighteen Academy Award nominations and three Oscars. Based on Ernest Hemingway's masterpiece, For Whom The Bell Tolls is the 1958 recording of Victor Young's score for the same film that came out in 1942. The vibrant, dramatic emotionalism of Hemingway's novel is revealed with immense impact in Heindorf's interpretation. The sound of the bell tolling, the violent crescendo of the violins, the deafening roar of war in all its turbulence is a thrilling musical experience; one that does not easily escape the listener. Edition of 500.

Doxy present a reissue of Clark Terry Quintet's Serenade To A Bus Seat, originally released in 1957. Jazz pioneer Clark Terry, aka "Mumbles", has been one of the most original trumpet players of his generation. In his long lasting career he has been collaborating with people of the likes of Quincy Jones, Duke Ellington, Count Basie, Charlie Barnet, and Oscar Peterson. As told by the artist himself Serenade To A Bus Seat is a kind of autobiographical album, the bus is indeed the metaphoric image of the life of the jazz orchestra in constant movement. The quintet is made of Clark Terry, Johnny Griffin, Wynton Kelly, Paul Chambers, and Philly Joe Jones. From Orrin Keepnews's original liner notes: "On this LP, Clark Terry comes into his own. It does not seem exaggeration to say that a few more like this will establish him as a truly major jazz figure." Edition of 500 (numbered).

Doxy present Bernard Herrmann's soundtrack for John Lee Thompson's 1962 thriller Cape Fear. Super classic score from the great Bernard Herrmann, one of the most famous American soundtrack composers known for his collaborations with director Alfred Hitchcock -- 1960's Psycho (DOC 118LP/DOP 8008LP/DOY 650LP), 1959's North By Northwest, 1956's The Man Who Knew Too Much, 1958's Vertigo (DOC 115LP/DOP 8009LP) -- and other cinema masterpieces including Citizen Kane (1941), The Day The Earth Stood Still (1951), and Taxi Driver (1976). Edition of 500.

Doxy present a reissue of George Russell Sextet's Ezz-thetics, originally released in 1961. The sextet features George Russell, Dave Baker, Don Ellis, Eric Dolphy, Steve Swallow, and Joe Hunt. Includes bonus track. Edition of 300 (numbered).

"With a group of musicians assembled for the occasion, pianist/composer/theorist George Russell goes into Riverside's studios in 1960 to record Ezz-thetics. Nowadays frequently found on 'greatest jazz albums' lists, this fantastic record is difficult to categorize and that's for the best. Exacerbated be-bop, modal concepts, hard bop and even hints at burgeoning free-jazz give this opus a unique and enchanting sound. Success always has many fathers. On one hand the compositions are remarkable, the four from Russell unfold with a surprising phrasing that avoids well-trodden paths. Miles Davis 'Nardis' is beautifully rearranged and Dave Baker's 'Honesty' adds a bluesy touch that doesn't hurt the overall cohesion. On the other hand you've got the soloists. Baker isn't afraid to play fast and precise on his trombone, Don Ellis displays his effects but above all Eric Dolphy who already steals the show with his alto solo on the first track. And if all that wasn't enough the album closes on one of the best version of Monk's classic ''Round Midnight' where Dolphy just dominates and proves his style also works on ballads." --AllMusic

Doxy present a picture disc reissue of Robert Zimmerman Plays Bob Dylan, a compilation released by the label in 2013. As the title, Robert Zimmerman Plays Bob Dylan, implies, these recordings show the young man everybody knows as Bob Dylan, finding his way in New York City after bumming a ride from Madison in the early months of 1961. Featuring songs that were left off of his first two Columbia LPs, Bob Dylan (1962) and The Freewheelin' Bob Dylan (1963), as well as other assorted demos and unreleased recordings, this essential LP of early recordings perfectly captures his growth from traditional folk music interpreter into what he would become: America's greatest living songwriter. Presented here on a limited edition picture disc.

Doxy present a picture disc reissue of Bob Marley and The Wailers' Soul Revolution Part II, originally released in Jamaica in 1971 and produced by Lee 'Scratch' Perry. Soul Revolution Part II is a sequel of sorts to Bob Marley And The Wailers' debut LP, 1970's Soul Rebel. The Wailers' work with Scratch is considered by many reggae fans to mark career pinnacles for all involved, and classic hymns like "Don't Rock My Boat" or the re-visitation of Curtis Mayfield's "Keep On Moving" were destined to become among the more widely hailed efforts in the repertoire of Bob Marley. A historical milestone in early reggae history, pressed in a beautiful limited edition picture disc; Includes two bonus tracks.

Doxy present a reissue of The Dave Brubeck Quartet's At Carnegie Hall, originally released in 1963. Recorded at the famed Carnegie Hall in New York City on Friday, February 22, 1963, this LP is simply one of the great live jazz albums of the 1960s. A date that showcases the finest elements of the storied Brubeck Quartet, which featured, alongside Brubeck's piano, alto innovator Paul Desmond, bassist Eugene Wright, and Joe Morello on drums. This LP is perhaps the one essential Brubeck live album. While "Take Five" is rightfully a classic in that it changed everything, At Carnegie Hall reveals the band at the epitome of its musical -- harmonic, rhythmic, melodic, improvisational -- strength with near telepathic communication. It swings like a mother and offers an entirely new dimension to the definition of "melodic improvisation". 140 gram clear vinyl; First pressing comes in an edition of 500 (numbered).

Doxy present a picture disc reissue of Thirty Weeks in 1963, originally released by the label in 2014. Deluxe picture disc LP documenting the first days of Beatlemania. Through 30 weeks, from February 11 to September 12, the best band of all-time is captured here in the days before their American invasion. Presented here on a limited edition picture disc.

Doxy present a reissue of McCoy Tyner's Today And Tomorrow, originally released in 1963. The fourth album by jazz pianist McCoy Tyner, Today And Tomorrow features a clear double personality: the three pieces made by an intriguing sextet of all-stars (with John Gilmore, Thad Jones, Frank Strozier, Butch Warren, and Elvin Jones), and the remaining six songs played with the "conventional" pianist trio (with Jimmy Garrison and Albert Heath). The album is here presented for the first time with three bonus tracks. 140 gram clear vinyl; First pressing comes in an edition of 500 (numbered).

Doxy present a picture disc reissue of Original Sun Sound Of Johnny Cash, originally released in 1964. Though Johnny Cash had been at Columbia for several years by the time this LP was originally released, he recorded and released such a tremendous amount of music between 1955 and 1958 at Sun Studios in Memphis, that Sun Records was releasing his work long after he had defected to a new label. Featuring 12 fantastic recordings with his Tennessee Two and others, including "The Ballad Of A Teenage Queen", his wonderful take on "Goodnight Irene", and the immortal "Big River". Reissued here on a beautiful limited edition picture disc.

Doxy present a reissue of John Coltrane and Wilbur Harden's Tanganyika Strut, originally released in 1958. The last of the three 1958 recordings made by jazz musicians John Coltrane and Wilbur Harden, Tanganyika Strut is Harden's last album as a leader. 140 gram clear vinyl; First pressing comes in an edition of 500 (numbered).

"Whether you call it 'Far Out' or 'Near In' or 'Funky' or 'Mainstream Modern' or 'Beat' . . . this is the sound! Four extended virtuous tracks by a group of outstanding representatives of everything that is happening new on the modern jazz scene! In the kind of odd geography that occasionally plays in important part in the history of jazzmen (i.e. New Orleans, Kansas City, Chicago) this group is dominated by the young lions from Detroit, Michigan . . . breeding place for much of today's important young modern jazz element." -- H. Alan Stein, from the original liner notes

Doxy present a reissue of Billie Holiday's The Blues Are Brewin', originally released in 1958. The Lady can sing the blues! A stunning collection of traditionals and blues pieces masterfully interpreted by the great Billie Holiday. 140 gram clear vinyl; First pressing comes in an edition of 500 (numbered).

"The material in this collection, blues in form or associative feeling, like old friends, is treated with knowing care. Framed in Sy Oliver big band settings that might evoke comparison with Basie, and in smaller, more intimate environs, (teaming up with friend and idol Louis Armstrong on two titles) 'Lady' is very much 'Lady', a jazz singer in the most compelling sense." --Burt Korall, from the original liner notes

Doxy present a reissue of Bill Evans, Shelly Manne, and Monty Budwig's Empathy, originally released in 1962. 140 gram clear vinyl; First pressing comes in an edition of 500 (numbered).

"This album came about through a fortuitous convergence of circumstances. Shelly Manne & His Men were appearing at New York's Village Vanguard, sharing the bill with the Bill Evans Trio. Creed Taylor set up a session at Rudy Van Gelder's studio with Evans and Manne sharing top billing. Manne's bass player, Monty Budwig, made up the trio. This was a busman's holiday for Evans, who was freed from the musical parameters he had set for his then-current trio. The result is that his playing seemed lighter, freer, and more relaxed than it had for a while (...) It's clear that everyone was having a good time and simply enjoying being relieved of their duties with their regular combos, even if for just one day." --AllMusic

Doxy present a reissue of Laughing On The Outside, the fifth studio album by American singer Aretha Franklin, originally released on August 12, 1963. The album was recorded at Columbia Recording Studios in New York and Hollywood. These sessions found a 21-year-old Aretha Franklin recording jazz music and pop music standards, from Johnny Mercer to Duke Ellington. She is backed by the arrangements of Columbia producer Robert Mersey. Includes two bonus tracks. 140 gram clear vinyl; First pressing comes in an edition of 500 (numbered).

"(...) In 'Skylark', the opening number, her voice soars 'in lovely flight', like the bird invoked in the lyrics; standards like 'For All We Know', Ellington's 'Solitude' and [Irving] Berlin's 'Say It Isn't So' become new experiences as projected by Aretha's rare magnetic power. She gives new songs like 'I Wonder' (for which Aretha wrote the words), 'If Ever I Would Leave You' and 'I Wanna Be Around' distinctive, unforgettable interpretations, the kind that set standards for time and singers to come. An especial highlight is Aretha's treatment of one of the most touching songs to come along in some time, 'Mr. Ugly'. Throughout the album, conductor Robert Mersey's tasteful arrangements lend Aretha strong, sympathetic support." --AllMusic

Featuring John Coltrane's classic quartet (McCoy Tyner, Jimmy Garrison, and Elvin Jones), Doxy present two live shows recorded in Stockholm and Berlin (ACV 2088LP) during the legendary 1963 European tour, which are a fairly typical example of the incredible strength of the group at the time. As with most of his live dates, Coltrane turns in extended explorations on all the selections, also leaving plenty of room for pianist Tyner to stretch out on more straightforward, but equally challenging solos. Drummer Jones matches the intensity of Coltrane's solo flights with propulsive and sensitive rhythmic support, while bassist Garrison anchors the proceedings with his steady and somewhat mercurial basslines. During the period when the shows were recorded, Coltrane was playing at an amazingly high level, with masterworks like Crescent (1964) and A Love Supreme (1965) just around the corner. The blend of freedom, energy, and formality in his solos make live recordings from this time a good bet for newcomers to Coltrane's work. First edition of 500 (numbered).

Featuring John Coltrane's classic quartet (McCoy Tyner, Jimmy Garrison, and Elvin Jones), Doxy present two live shows recorded in Stockholm (ACV 2087LP) and Berlin during the legendary 1963 European tour, which are a fairly typical example of the incredible strength of the group at the time. As with most of his live dates, Coltrane turns in extended explorations on all the selections, also leaving plenty of room for pianist Tyner to stretch out on more straightforward, but equally challenging solos. Drummer Jones matches the intensity of Coltrane's solo flights with propulsive and sensitive rhythmic support, while bassist Garrison anchors the proceedings with his steady and somewhat mercurial basslines. During the period when the shows were recorded, Coltrane was playing at an amazingly high level, with masterworks like Crescent (1964) and A Love Supreme (1965) just around the corner. The blend of freedom, energy, and formality in his solos make live recordings from this time a good bet for newcomers to Coltrane's work. First edition of 500 (numbered).

Doxy present a reissue of Elmer Bernstein's soundtrack for To Kill A Mockingbird. The film, directed by Robert Mulligan, was originally released in 1962. Between 1951 and 2002, Elmer Bernstein composed over 200 scores for films and TV programs. Among the great film scores he composed from 1955 to 1965 - including 1960's The Magnificent Seven, 1963's The Great Escape (DOC 105LP), and 1956's The Ten Commandments - the one Bernstein picked as his favorite was To Kill A Mockingbird (1962). This has one of the simplest and most delicate film scores ever composed. The opening main title features a delicate waltz tempo mixed with a more expansive theme which beautifully sets the mood for this drama of innocent childhood and racial prejudice. This is a masterpiece of subtle film scoring and one of the greatest from the past sixty years.

Doxy present a reissue of Jean Ledrut's soundtrack for The Trial, originally released in 1962. In 1962, Orson Welles brought what he called his greatest film, The Trial, to the big screen. Filmed in a beautiful black and white, written by Welles and with the incredible performance of Anthony Perkins, Romy Schneider, and Jeanne Moreau. The Trial captures very well the Kafkaesque feeling of the novel. The film is a paranoid nightmare, interrupted here and there by moments of typical Welles humor. One of the elements that contributes to the atmosphere of the film is the soundtrack of Jean Ledrut that makes use of both original atmospheric parts and adaptations from Tomaso Albinoni (Adagio in G minor). There are also some jazzy tracks (played by the great jazz pianist as well as composer Martial Solal) that fit beautifully. Edition of 500.

Doxy present a reissue of Billie's Best, a selection drawn from Billie Holiday's recordings of the mid-1950s, originally released in 1992. Holiday's voice possessed a unique presence, a sound that seems lit up by a resilient vitality. Producer Norman Granz set Holiday among the small jazz combos that suited her talents best, groups that included some of the finest soloists of her generation, such as trumpeter Harry "Sweets" Edison and saxophonists Benny Carter and Ben Webster. Granz also supplied ideal rhythm sections, with pianist Jimmy Rowles and guitarists Kenny Burrell and Barney Kessel making appearances here. There's more room to stretch out than was available on the early Columbia and Commodore recordings, and the results are relaxed and profound treatments of some great songs.

Originally released in 1952; reissued on 140-gram clear vinyl. The final collaborative studio recording by Charlie Parker and Dizzy Gillespie. Producer Norman Granz's original liner notes: "Modern jazz has had from the start two main sources whence came most of the ideas. These two founts, as it were, of inspiration and of ideas are Charlie Parker and Dizzy Gillespie. Indisputably they have enriched the lore of jazz throughout the world. They have taken what people have built before them, refashioned it in many ways, added to it, and have sent the jazz edifice soaring for others to look up to; be inspired by, and, eventually, build upon. Most of the playing of Parker and Gillespie together was in the period 1944-46. At that time Gillespie had a small unit in which Parker was the featured soloist. Shortly after that period, they separated, each to go his own way. This album represents the first get-together, in a sense, of the two since their separation. I took, as an ideal rhythm section, Thelonious Monk, who is a lesser light in modern jazz but, nevertheless, an important one; Curly Russell, an itinerant bassist, in the modern idiom; and Buddy Rich, a very swinging drummer. We made the sides contained in this album at a very happy date; and I think you will agree that Parker and Gillespie are fresher and better than ever before, and axiomatically as they play, so does modern jazz grow."

Doxy present a reissue of Ahmed Abdul-Malik's The Eastern Moods Of Ahmed Abdul-Malik, originally released in 1962. One of the most compelling albums ever recorded by Ahmed Abdul-Malik, the set's got a style that's very strongly in keeping with the "eastern moods" of the title - with less of a jazz sound than some of Abdul Malik's other work, and more spare, exotic instrumentation overall. The group on the set is a trio - Ahmed on bass and oud, Bilal Abdurrahman on alto, Korean reed flute, and percussion, and William Henry Allen on bass and percussion. With that kind of lineup, you can imagine the feel - lots of spare rhythms, with snaking reed work over the top, done in a very evocative way - and although there's less jazz than usual, the alto sax solos still give the record enough of a jazz component to set it apart from straight world music. The album kicks off with a surprisingly great, and incredibly haunting, take on "Summertime", then rolls into some really wonderful original tunes that include "Ancient Scene", "Magrebi", and "Shoof Habebe". From original liner notes: "(...) The music on this album, in spite of the unorthodox instrumentation and exotic titles, should prove itself readily accessible to any listener with an open mind and an interest on the fascinating and original fusion of different musical cultures which it represents. (...)" Edition of 500 (numbered).

Doxy present Collates, a reissue of two Lester Young recordings with The Oscar Peterson Trio titled, Lester Young With The Oscar Peterson Trio #1 and Lester Young With The Oscar Peterson Trio #2, both released in 1954. Are you ready to swing with the great Lester Young? A bunch of killer tracks from one of the all-time great tenor saxmen teaming up with pianist Oscar Peterson and his trio: guitarist Barney Kessel, bassist Ray Brown, and drummer J.C. Heard. Includes his finest performances of the '50s "Ad Lib Blues"; "Just You, Just Me"; "Tea For Two"; "(Back Home Again In) Indiana"; "On The Sunny Side Of The Street"; "Stardust"; "There Will Never Be Another You"; "I Can't Get Started", and more. A really great collection! Edition of 500 (numbered).

Doxy present a reissue of George Russell And His Orchestra's Jazz In The Space Age, featuring Bill Evans and originally released in 1960. From the original liner notes of Burt Korall: "(...) This album points the way to the future. It is prophetic because George Russell felt compelled to make it so. 'Jazz is changing, the sixties could well be a crucial decade,' says the composer. 'One thing is certain. A variety of sound and rhythms, many of which are alien to what audiences are used to, will find their way into jazz.' Unaccountably, things we hear around us every day, very humans things, have either disappeared or been left out of jazz as we know it. 'Progress is inevitable. Today's musical palette is just not adequate.' All feelings relative to life and beauty cannot be validly expressed with techniques now in vogue. What is more, jazz is an evolving art; it is not meant to be restricted. The very nature of the music and its history indicate this. The jazz music of the future? What will it be like? Well, the techniques are going to get more complex, and it will be a challenge for the composer to master the techniques and yet preserve his intuitive approach. And it will be a challenge to the improviser to master these techniques and also preserve the intuitive, earthy dignity of jazz (...)" Edition of 500 (numbered).

Doxy present a reissue of Prince Lasha Quintet's The Cry, featuring Sonny Simmons and originally released in 1963. "This 1962 recording is one of the prize items of the free-jazz movement as it flowered in California. It teams flutist Prince Lasha and alto saxophonist Sonny Simmons, who co-wrote all the songs and play with an esprit de duo that reflects their long-term partnership. Lasha, who also played saxophone, was a childhood friend of Ornette Coleman and became part of his circle in Los Angeles. Simmons, a Louisiana native who grew up in Oakland, came under Coleman's influence while honing his own terse, lyrically heated style. Though the overall sound of The Cry! very much proceeds from Ornette's harmolodic 'new thing' (while absorbing earlier styles ranging from Ellington 'exotica' to Waller 'erotica') it's a racier vehicle that takes hairier turns. Propelled by the clean and steady dual basses of Gary Peacock and Mark Proctor (on three tracks, Peacock goes it alone), Lasha and Simmons harmonize with as much zip and warmth as they put into their solos." --Lloyd Sachs. Edition of 500 (numbered).

Doxy present a reissue of Art Blakey And The Jazz Messengers' Like Someone In Love, originally released in 1967. "Taken from the same legendary sessions that resulted in A Night In Tunisia, this classic LP features the 1960 version of The Jazz Messengers starring trumpeter Lee Morgan, tenor saxophonist Wayne Shorter and pianist Bobby Timmons. The title cut is the most impressive performance, but this excellent program of high-quality hard bop also allows listeners to hear three obscure Wayne Shorter compositions and Lee Morgan's forgotten 'Johnny's Blue'. (...)" --AllMusic. Edition of 500 (numbered).